profanatica

Holy shit, it’s another big week for metal albums. Where do you even begin with this stuff? Okay,well, you know where we’re going to begin with this stuff just by looking at the picture above — with Revocation, of course. The band one of the best logos in metal — which they inexplicably decided to omit from their new, sixth album, Great Is Our Sin. Oh well. What else?

How about a new album from Hammers of Misfortune, which might just have my favorite cover art of the year so far? And how about one from Denouncement Pyre? And one from Profanatica? Hell, even Periphery and Black Crown Initiate drop some new material today. In short, I’ve got a lot of listening to get to — so I’m going to cut this intro off right about meow. Here’s what’s on tap this week:
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The metal scenes in Europe and the United States have always had a symbiotic relationship. When one scene moves in a particular direction, the other one begins by emulating and then transcending that direction. The New Wave of British Heavy Metal was a profound influence on the American thrash metal scene, a scene which would greatly influence musicians all over Europe (e.g. Swedish death metal), and so on. To make a (very) broad generalization: Europe tends to bring the mythology and romantic mystique; America tends to bring a more self-oriented, personal touch.

This is true of the American black metal scene as well. A good introduction to United States Black Metal (USBM) requires an appreciation for the bands that began by directly emulating the stylistic giants of Scandinavia, Switzerland and elsewhere. True, the American scene has gone in all sorts of directions since its development in the mid-to-late 1990s. But listeners should have a sense of context before moving into the specialized realms occupied by death-laden heroes like Goatwhore and Hod, along with the indie/alternative influenced sounds made famous by Wolves in the Throne Room. So with that in mind, enter the Nine Circles ov USBM. Continue reading →